a essay on performing arts

Performing arts (such as traditional music, dance and theatre)

The performing arts range from vocal and instrumental music, dance and theatre to pantomime, sung verse and beyond. They include numerous cultural expressions that reflect human creativity and that are also found, to some extent, in many other intangible cultural heritage domains.

Music is perhaps the most universal of the performing arts and is found in every society, most often as an integral part of other performing art forms and other domains of intangible cultural heritage including rituals, festive events or oral traditions. It can be found in the most diverse contexts: sacred or profane, classical or popular, closely connected to work or entertainment. There may also be a political or economic dimension to music: it can recount a community’s history, sing the praises of a powerful person and play a key role in economic transactions. The occasions on which music is performed are just as varied: marriages, funerals, rituals and initiations, festivities, all kinds of entertainment as well as many other social functions. Dance, though very complex, may be described simply as ordered bodily movements, usually performed to music. Apart form its physical aspect, the rhythmic movements, steps and gestures of dance often express a sentiment or mood or illustrate a specific event or daily act, such as religious dances and those representing hunting, warfare or sexual activity.

Traditional theatre performances usually combine acting, singing, dance and music, dialogue, narration or recitation but may also include puppetry or pantomime. These arts, however, are more than simply ‘performances’ for an audience; they may also play crucial roles in culture and society such as songs sung while carrying out agricultural work or music that is part of a ritual. In a more intimate setting, lullabies are often sung to help a baby sleep.

The instruments, objects, artefacts and spaces associated with cultural expressions and practices are all included in the Convention’s definition of intangible cultural heritage. In the performing arts this includes musical instruments, masks, costumes and other body decorations used in dance, and the scenery and props of theatre. Performing arts are often performed in specific places; when these spaces are closely linked to the performance, they are considered cultural spaces by the Convention.

Many forms of performing arts are under threat today. As cultural practices become standardized, many traditional practices are abandoned. Even in cases where they become more popular, only certain expressions may benefit while others suffer.

Music is perhaps one of the best examples of this, with the recent explosion in the popularity of ‘World Music’. Though it performs an important role in cultural exchange and encourages creativity that enriches the international art scene, the phenomenon can also cause problems. Many diverse forms of music may be homogenized with the goal of delivering a consistent product. In these situations, there is little place for certain musical practices that are vital to the process of performance and tradition in certain communities.

Music, dance and theatre are often key features of cultural promotion intended to attract tourists and regularly feature in the itineraries of tour operators. Although this may bring more visitors and increased revenue to a country or community and offer a window onto its culture, it may also result in the emergence of new ways of presenting the performing arts, which have been altered for the tourist market. While tourism can contribute to reviving traditional performing arts and give a ‘market value’ to intangible cultural heritage, it can also have a distorting effect, as the performances are often reduced to show adapted highlights in order to meet tourist demands. Often, traditional art forms are turned into commodities in the name of entertainment, with the loss of important forms of community expression.In other cases, wider social or environmental factors may have a serious impact on performing art traditions. Deforestation, for example, can deprive a community of wood to make traditional instruments used to perform music.

Many music traditions have been adapted to fit western forms of notation so they may be recorded, or for the purpose of education, but this process can be destructive. Many forms of music use scales with tones and intervals that do not correspond to standard western forms and tonal subtleties may be lost in the process of transcription. As well as music beinghomogenised, changes to traditional instruments to make them more familiar or easier to play for students, such as the addition of frets to stringed instruments, fundamentally alter the instruments themselves.

Safeguarding measures for traditional performing arts should focus mainly on transmission of knowledge and techniques, of playing and making instruments and strengthening the bond between master and apprentice. The subtleties of a song, the movements of a dance and theatrical interpretations should all be reinforced.

Performances may also be researched, recorded, documented, inventoried and archived. There are countless sound recordings in archives all around the world with many dating back over a century. These older recordings are threatened by deterioration and may be permanently lost unless digitized. The process of digitisation allows documents to be properly identified and inventoried.

Cultural media, institutions and industries can also play a crucial role in ensuring the viability of traditional forms of performing arts by developing audiences and raising awareness amongst the general public. Audiences can be informed about the various aspects of a form of expression, allowing it to gain a new and broader popularity, while also promoting connoisseurship which, in turn, encourages interest in local variations of an art form and may result in active participation in the performance itself.

Safeguarding may also involve improvements in training and infrastructure to properly prepare staff and institutions for preserving the full range of performing arts. In Georgia, students are trained in anthropological fieldwork methods as well as how to record polyphonies, allowing them to create the foundations of a national inventory by creating a database.

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Performing Arts and Plays Analysis Essay

This essay is aimed at examining six plays that I attended during this semester. Overall, the chosen works represent a variety of genres, styles, and cultural traditions. Nevertheless, each of them can throw light on various problems that continue to affect the lives of modern society and separate individuals. In turn, the key purpose of this paper is to show how these performances can be related to the coarse goals that had to be attained. To a great extent, one can say that these productions can significantly enrich the outlook of a person, and his/her understanding of such issues as race, politics, culture, economics, or politics and how these questions are represented in artworks. Moreover, the study of these productions can show how performance can be used as an instrument promoting social justice. In many cases, these theatrical performances can support those groups of people who can be discriminated against or marginalized due to some pretexts. Furthermore, the analysis of these plays can help a student elaborate his/her critical thinking skills which are necessary for expanding the boundaries of art. Moreover, by studying these productions, one can gain a good grasp of the terms that are necessary for the discussion of performances. These are some of the details that can be distinguished.

At first, by analyzing these plays, I was able to develop a critical process that can help a person understand the history of performance as a tool for promoting social justice and addressing various problems that can impair the quality of people’s lives. This process includes several steps. In particular, one should pay close attention to how performance could be used to raise public awareness about certain social problems. Furthermore, it is important to focus on the directors’ choices who can modify the plot of a play or change the design of the setting to show how specific issues can affect modern communities or individuals. This argument is particularly relevant if one speaks about such a play as Ubu Roi which was first performed in 1896. I have been able to observe the performance of this play produced by The Cutting Ball Theatre. Unlike the original production, this performance is set in contemporary society. In this way, the director attempts to demonstrate that such problems as the lust for power and wealth lead to disastrous for the modern communities. In my view, this decision was very effective.

Furthermore, to study the history of performance as a tool for social justice, one should look at how a particular play could be interpreted. For instance, the musical Little Shop of Horrors could often be regarded primarily as a black comedy. Nevertheless, nowadays, this performance eloquently demonstrates the dangerous effects of greed and irresponsibility. This trend becomes particularly noticeable when people learn more about corrupt practices of various organizations that can be both private and public. So, this element of the critical process is also significant.

Additionally, viewers need to focus on the negative character traits that the directors and playwrights attempt to illustrate because, in this way, they can uncover some of the most fundamental social flaws. This issue is particularly noticeable in the play The Pain and the Itch produced by Custom Made Theatre. In particular, this work throws light on the complacency of many affluent people and their unwillingness to understand the problems of people who can be stricken by poverty or discrimination. Such underprivileged individuals can be treated as outcasts. This is one of the themes that have been explored in various productions of play since 2005 when it was first produced.

Additionally, one should focus on how performance could be used to empower groups that could discriminate against or marginalized by society. This argument is particularly relevant to the play Yellow written by Del Shores who depicts the life of a nuclear family. It was produced by New Conservatory Theatre Center. This work raises people’s awareness about the victimization of homosexual people who can be treated as outcasts even by their relatives. Admittedly, not all of the performances that I attended can be viewed as tools of social justice. For instance, this argument can be applied to such plays as The Seagull and Hundred Days because this performance is not directly related to social issues. They are not aimed at promoting a certain social agenda that the audience should consider. Nevertheless, I can say that it is important to look at how a specific theatrical work could be applied to change public opinion or highlight a certain issue. This information can help a person to evaluate performance and understand its themes which often reflect the need for social justice. These are the main points that can be made.

Apart from that, this course prompted students to think about the relationship of the performance to such issues as sexuality, gender, culture, economics, or race. In turn, many of these plays incorporate themes that are closely linked to these specific themes. For example, Del Shores’ play Yellow urges the readers to think about the problems of homosexuality and the marginalization of an individual. In particular, this author demonstrates how a homosexual person can be victimized, especially in the culture, which postulates rigid gender norms that everyone should comply with. To some degree, this performance prompted the audience to think more about the obstacles encountered by such individuals almost daily.

In contrast, the play Pain and the Itch by Bruce Norris examine various economic factors that affect the life of the community. This play can throw light on the experiences of a middle-class family. This performance can help the audience understand the struggle of people who strive to achieve economic prosperity. For instance, one can speak about the immigrant named Hadid who continuously speaks about such questions as property taxes or the price of footwear. It seems that these issues are of the greatest priority to him. To some degree, the economic concerns are also explored in the play Little Shop of Horrors by Howard Ashman. This author demonstrates how the quest for economic prosperity can prompt a person to violate various ethical principles and even sacrifice other people. In many cases, such a person can become callous or even cruel. In addition to that, these plays encourage the audience to think about the role of politics in modern society. In this case, one can refer to the play named Ubu Roi written by Alfred Jarry. It is possible to say that, this work illustrates the dangers of political tyranny and autocracy. This issue is particularly relevant if one speaks about the main character symbolizing lust for power.

In turn, the play Seagull throws light on various aspects of modern culture, even though this play was written more than a century ago. To some extent, the performance urged me to think about people’s responses to new cultural or artistic forms. Very often, they are treated with apprehension and criticism. Overall, these plays have prompted me to think about the variety of problems that affect modern society. Additionally, the analysis of these plays shows that these works are not isolated from real-life as some people can assume. These are the main details that can be singled out.

Apart from that, these performances have enabled me to expand the boundaries of art activities through experiential, intellectual, and community concerns. These perspectives enable a person to take a new look at various works of art, including theatrical performances. In particular, one should speak about such activities as the perception, analysis, and evaluation of art. In many cases, these activities require the ability to re-evaluate the assumptions that a person may often take for granted. It should be noted that these performances have demonstrated to me that art underlines the limitations of human knowledge and understanding. For example, I can speak about the performance of The Pain and the Itch. This play shows that in many cases, people can act in a self-righteous manner, but their convictions can prove completely wrong almost at any moment. Similarly, Anton Chekhov’s play The Seagull urges the audience to remember that they can easily misinterpret the behavior of other people, their motives, and emotions. This is why many of their convictions can be false in the long term.

Additionally, the performance Hundred Days made me think about the core priorities of an individual and how these priorities can be re-assessed. Therefore, a person should be open to new ways of thinking or discussing a certain issue. In turn, an individual, who perceives art, should reflect on various messages that the playwright and the director tried to convey. Therefore, critical thinking is critical for the evaluation and analysis of a theatrical performance or any other artwork. Additionally, much attention should be paid to empathy since it is critical for gaining insights into the behavior and motives of another person whose inner world may not be known to the spectators.

Moreover, these plays demonstrate that art can reflect a variety of community concerns. For instance, it is possible to mention such a play as Yellow. Therefore, a person should try to link various artworks to the social issues that can be explored by the playwright because this approach can give a person insights into the themes of the play. To a great extent, these performances have shown to me that art is an extremely complex phenomenon that can shape a person’s values, attitudes, and worldviews. By approaching art activities from the perspective of experimental, intellectual, and community concerns, one can better appreciate art that will become much more thought-provoking and engaging.

In addition to that, the study of these plays has enabled me to develop a working vocabulary of performance. I have had an opportunity to apply the concepts that are necessary for the critique and analysis of performances. This vocabulary can be related to some technical aspects of theatrical productions such as plot, acting evaluation, setting or sound design, lighting, and so forth. The use of these concepts is important for the study and analysis of theatrical performances that may differ in terms of genre, style, or plot. This is one of the benefits that can be singled out.

Additionally, these plays are useful for understanding the concepts related to social justice. For example, one can speak about such terms as discrimination, poverty, empowerment, marginalization, and so forth. These notions are also critical for the analysis of literary works or theatrical performances. I can say that each of the six plays was beneficial for the achievement of this course goal since each of these productions was thought-provoking and open to different interpretations. These theatrical performances have increased my understanding of art that can be represented by various genres, styles, and cultural traditions. These are the main aspects that be identified.

Moreover, these plays have been useful for providing a personal response to course materials through the use of critical thinking, speaking, and writing skills. It should be noted that I needed to write responses to each of these plays. These assignments incorporate the analysis and evaluation of the production. To cope with these tasks, I needed to use critical thinking and analytical skills. To some degree, these exercises have demonstrated to me how important it is to support one’s argument with appropriate evidence. In this way, one can better understand the message that an author or a director tried to convey.

Additionally, while doing these assignments, I had to work on the structure of essays, word choices, paragraphs, and punctuation. Therefore, these assignments gave me a better idea about the writing mechanics and structure of the paper. More importantly, while analyzing these performances, I did not have to rely on the opinions of other people who can be viewed as authority figures. Moreover, it became quite clear to me that artworks can give rise to a variety of interpretations that can sometimes contradict one another. Thus, it became clear to me that one should not be afraid of expressing one’s own opinions, even if they contradict the views of the majority. This is one of the main points that should not be disregarded by people who analyze different works of art, including theatrical plays.

To a great extent, this discussion suggests that the analysis of theatrical performance can be useful for increasing a person’s awareness about different social and political issues that can influence the life of every individual. Moreover, the study of these plays enabled me to understand the boundaries of art. In particular, intellectual, experiential, and community concerns are useful for making a comprehensive interpretation of theatrical works. To some degree, these performances are relevant to each of the course goals. On the whole, the chosen works differ profoundly in terms of genre, plot structure, or themes explored by the authors. Nonetheless, each of these plays can pose many thought-provoking questions to the viewers who are encouraged to think about the motives that underlie the behavior of an individual under various circumstances. These are the arguments that can be put forward.

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Theater and performing arts: articles, writings on theater.

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Articles published in TDPS periodicals and essay collections can be found using UC Library Search or specific performing arts indexes, listed below.

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Article indexes with broad subject content are listed below. For a complete list of article indexes available at the UC Berkeley Library see How to Find Articles .  

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Essay Topics On Performing Arts: 25 Great Suggestions

Performing arts come in their varieties. Though they are mainly based on performance, you will occasionally be required to compose an essay on a particular subject. You need to choose a topic that is as captivating as the performance you would wish to stage or watch. What are some of the topics to consider in performing arts?

• The effects of technology on consumption of performing arts
• Effective use of performing arts to enhance child development
• Performing arts as a learning tool
• Tapping onto technology to enhance performing arts productions
• Language factor in performing arts
• Performing arts as a language
• Is it possible to shield art from the influence of modernization?
• Making a choice between performing arts and sports
• Commercialization of performing art and its effect on creativity.
• Shift in performance strategies in light of digitization of consumption
• Balancing between entertainment and participation for performance arts
• The authentic definition of performing arts
• Maintaining the identity of an individual during cultural performing art events without distorting the genre
• Relationships between performing artists and how to maintain professional distance
• How art can be integrated into curriculums to stem apathy
• Personal experience in writing and performing own acts
• Taking up multiple roles during performances
• The place of governments in supporting performing artists
• When a performing art transcends a nation
• Performing arts for the elderly
• Social classes and their appreciation of performance arts
• The diminishing place of fine arts in the education system
• Personalities who have defined performing arts
• Reviving the theatre going tradition
• The cultural aspect of music in the society

There are numerous options whenever you need to write a paper on performing arts. There are different genres like music, film, history, specific genres, personalities, societies, etc. You are required to make a choice on the approach you will give your paper. This helps you to avoid duplication of content that has already been written in the past. To avoid this pitfall, read other works on the subject.

To make the essay captivating, consider a fresh topic. This is one that is on the lips of people around the world or in your networks. It will be interesting to read because it arouses curiosity whenever someone picks your paper. Your topic should also be specific to define the art, personality, subject, etc under scrutiny.

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Home — Essay Samples — Arts & Culture — Artwork — Performing Arts Academy

Performing Arts Academy

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Published: Jun 5, 2019

Words: 767 | Pages: 2 | 4 min read

• Classes in the craft of acting – students working on physical and vocal skills to extend their capabilities as a performer
• A musical theatre student working with a singing teacher on musical theatre repertoire or technical singing
• Dancers in a pas de deux class working with an eminent classical ballet teacher learning how to master the techniques of dancing together
• Production students running a technical rehearsal for the next public production of a major musical
• A small group of acting students working on their contribution to the fringe theatre season in the studio theatre
• A TV director making a commercial in the green screen studio
• Students and teachers meeting in the library to find and discuss possible plays for the next theatre festival
• Musical theatre students working with a professional choreographer and MD on musical theatre dance styles; learning songs and choreography that reflects the history of musical theatre
• Production students making model boxes for their design project, under the guidance of a top set designer.
• SPAA will audition candidates from all over the world. We are looking for individuals who have the potential to be confident, independent learners who are willing to embrace diversity, work with imagination and commit to rigorous work and long hours of practice and study.

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An essay examples on performing arts is a prosaic composition of a small volume and free composition, expressing individual impressions and thoughts on a specific occasion or issue and obviously not claiming a definitive or exhaustive interpretation of the subject.

Some signs of performing arts essay:

• the presence of a specific topic or question. A work devoted to the analysis of a wide range of problems in biology, by definition, cannot be performed in the genre of performing arts essay topic.
• The essay expresses individual impressions and thoughts on a specific occasion or issue, in this case, on performing arts and does not knowingly pretend to a definitive or exhaustive interpretation of the subject.
• As a rule, an essay suggests a new, subjectively colored word about something, such a work may have a philosophical, historical, biographical, journalistic, literary, critical, popular scientific or purely fiction character.
• in the content of an essay samples on performing arts , first of all, the author’s personality is assessed - his worldview, thoughts and feelings.

The goal of an essay in performing arts is to develop such skills as independent creative thinking and writing out your own thoughts.

Writing an essay is extremely useful, because it allows the author to learn to clearly and correctly formulate thoughts, structure information, use basic concepts, highlight causal relationships, illustrate experience with relevant examples, and substantiate his conclusions.

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GP Essay Questions on Arts. Have a look at these GP Essay Questions on Arts from the past papers

• Would it matter if all the performing arts venues in your society, such as concert halls and theatres were closed down?
• ‘Only modern architecture and modern art have a place in today’s world.’ How true is this of your society?
• ‘People the Arts, living or dead, receive far more recognition than those in the Sciences, even though it is less deserved.’ Consider this claim.
• “All art is propaganda in some form.” Discuss.
• How far should architecture be both beautiful and practical? Discuss with reference to particular examples in your country.
• “It is impossible to prove that one art form is superior to another.” Do you agree? Refer to specific examples from painting, music or literature to support your answer
• ‘Enjoyable, but ultimately of little practical use.’ Consider the value of music or art or literature in the light of this comment.
• ‘Public money should not be wasted on supporting the Arts; they should support themselves.’ Discuss.
• ‘A work of art can never be valued just in financial terms.’ Discuss
• Do the arts, such as music and literature, really play a significant part in Singaporean society?
• ‘The arts cannot change the world , but they can make it more beautiful.’ Discuss this view with reference to one of the following: painting, sculpture or music.
• Contemporary music has no artistic value.’ Is this a fair comment?

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How Nizhny Novgorod became the trade center of the Russian Empire 

“St. Petersburg is Russia’s head, Moscow is its heart and Nizhny Novgorod is its pocket.” This old Russian saying is probably the most succinct way of explaining the meaning and importance of the trading that took place in Nizhny Novgorod.

Why did Nizhny Novgorod become a center of commerce?

The city is very conveniently located at the confluence of two major rivers, the Volga and Oka, which run across the whole of Russia and flow into the Caspian Sea. In addition, the Volga was the only arterial waterway linking the West with the East. Nizhny Novgorod, moreover, was on the railway network, so one could travel to the Caucasus, Persia, Turkey, Central Asia and even India and China from there. Thanks to its geographical position, the city had always been a thriving trade hub and archeologists have found Arabic and Byzantine artifacts proving that it had trading links with the East as early as the 13th-14th centuries. The first documented fairs and gatherings of merchants go back to the 16th century.

Nizhny Novgorod at the end of the 19th century

Initially, fairs were held not in the city itself, but by the walls of the Makaryev Monastery lower down the Volga. They were temporary affairs and lasted one or two days. In the 17th century, however, Tsar Aleksey Mikhaylovich established a five-day duty-free period for trade, thus attracting even more merchants. These often stayed for longer periods, paying tax to the treasury outside the period of exemption.

In the early 19th century, it became clear that the space near the monastery was not big enough to accommodate all comers and, furthermore, the makeshift rows of wooden shopping booths burned down at one point. By that time, the Nizhny Novgorod Fair had already become incredibly important, bringing an enormous amount of money to the state treasury. 

View of the fair at the end of the 19th century

The fair was moved to Nizhny Novgorod proper - to the point of land where the Volga and Oka converge. Emperor Alexander I postponed repairs in his own palace to allocate six million rubles for the construction of a new building for the fair. And he didn’t lose out - merchants brought merchandise worth 24 million rubles to the first fair, which opened on the new site in 1817, with the figure increasing to 57 million rubles by 1846.

One of the buildings of the Gostiny Dvor (indoor market) in Nizhny Novgorod

Contemporaries called the Nizhny Novgorod Fair the “trading court of Europe and Asia”. Foreigners sold their wares wholesale to local merchants and manufacturers and 90 percent of all goods from the East passed through the Nizhny Novgorod Fair, from where they were distributed throughout Russia. In turn, foreign merchants bought goods from Europeans and Russians.

What was bought and sold at the Nizhny Novgorod Fair?

General view of the fair, chromolithograph, 1896

By the 1850s, up to 700 foreign merchants would attend the Nizhny Novgorod Fair. At the same time, the volume of trade with Asia in the middle of the 19th century exceeded turnover with Western Europe by one-and-a-half to three times.

One of the main items of trade was tea from China. In the 1880s, between 800 and 900 poods (a Russian unit of weight equal to about 16.38 kilograms) of tea worth 42 million rubles were brought to Russia every year. There were even separate Asian trading pavilions in the style of Chinese pagodas at the fair.

Chinese pavilions at the fair, late 19th century

In return, the Chinese bought the furs and skins of all kinds of animals; from foxes, squirrels and muskrats to sheep and cow hide.

From Iran, handmade rugs, silks, cotton fabrics, as well as a wide range of dry foodstuffs - walnuts, pistachios, dried pitted and unpitted apricots, almonds, prunes, millet and rice - were brought to Russia. And the Persians themselves took back wool, metal and leather goods, porcelain, writing paper and many other things.

Pyotr Vereshchagin. Lower Bazaar in Nizhny Novgorod, 1860s

Russia also exported sugar, linen, hemp, cotton and leather goods, wool, wood, metals and much more to the East. The variety of merchandise was astounding. In the 1820s, Russian official Yegor Meyendorff gave a list of the goods purchased by Bukhara merchants: “The goods exported from Russia include cochineal [a red dye - ed.], cloves, sugar, tin, red and blue sandalwood, cloths, red Kungur, Kazan and Arzamas leather, wax, some honey, iron, copper, steel, gold thread, small mirrors, otter skin, pearls, Russian nankeen [cotton fabric - Russia Beyond], cast-iron cauldrons, needles, coral, plush, cotton headscarves, brocade, small glassware and a small quantity of Russian canvas…”  

Fishing also became a very important article of trade. “Fishing for beluga, sturgeon, stellate sturgeon, catfish and some other fish species was almost completely monopolized by Russian merchants throughout the Southern Caspian,” according to historians A.A. Ivanova and A.V. Ivanov.

Fishing boat of the Murmansk fishery industry

Over time, products from new developing industries, including metallurgy and textile   manufacturing, were added to the exports. They included inexpensive chintz manufactured at the famous Shuya factories in Ivanovo Region. And, in the 1880s-1890s, trading in oil and oil products even began here.

The machinery section at the fair in 1896

With the passage of time, bank branches were opened at the fair, the services of lawyers became available and exchange dealings were transacted. The fair was a very important event for major Russian merchants and manufacturers. But self-employed artisans and representatives of the arts and crafts industry also took a very active part. Spinning-wheels, wooden spoons, folk costumes, painted trays, crockery, lace - the work of the best artisans from all over Russia was represented. They, in turn, would spend the whole year preparing for the fair and would try to bring their best wares.

The handicrafts section in 1896

How the fair was organized

Jules Verne's ‘Michael Strogoff’ describes the Nizhny Novgorod Fair as follows: “This plain was now covered with booths symmetrically arranged in such a manner as to leave avenues broad enough to allow the crowd to pass without a crush. Each group of these booths of all sizes and shapes formed a separate quarter particularly dedicated to some special branch of commerce. There was the iron quarter, the furriers’ quarter, the woolen quarter, the wood merchants quarter, the weavers’ quarter, the dried fish quarter, etc… In the avenues and long alleys there was already a large assemblage of people… An extraordinary mixture of Europeans and Asiatics, talking, wrangling, haranguing and bargaining… On one of the open spaces between the quarters of this temporary city were numbers of mountebanks of every description; harlequins and acrobats deafening the visitors with the noise of their instruments and their vociferous cries… In the long avenues, the bear showmen accompanied their four-footed dancers, menageries resounded with the hoarse cries of animals…”

General view of the fair during spring high water on the River Oka, 1890

From the mid-19th century onwards, the official duration of the fair was a little over a month, but, in practice, trading continued from July to September. The fair was an occasion for general festivity in the city - more than 200,000 people would arrive in Nizhny Novgorod during the period of trading and there would be a circus and a theater and performing musicians. Electricity and water supply were brought to the site of the fair in the 1870s-1880s. The fair had a positive impact on the whole of the city - Nizhny Novgorod had convenient infrastructure facilities, and hotels and inns were extensively built. One of the first tram lines in Russia was inaugurated there in 1896.

Eastern traders at the fair

There were also two cathedrals at the site of the fair - the ‘Staroyarmarochny’ (“Old Fair”) Transfiguration Cathedral, which opened in 1822. The architect was Auguste de Montferrand (who later built St. Isaac’s Cathedral in St. Petersburg with a very similar colonnaded drum under the main dome). 

The ‘Staroyarmarochny’ (“Old Fair”) Transfiguration Cathedral

In 1881, Emperor Alexander III himself, along with his spouse and son, the future Nicholas II, were present at the inauguration of the Alexander Nevsky ‘Novoyarmarochny’ (“New Fair”) Cathedral. Construction of a new main fair building, in the Russian style, was completed in the same year (the similar GUM department store on the Red Square appeared later). All three buildings survive to this day. 

The fair’s principal building

In 1896, the All-Russia Industrial and Art Exhibition was held in the grounds of the Nizhny Novgorod Fair - the biggest such exhibition in the history of the Russian Empire. More than 100 temporary pavilions were built for it. The first Russian motor car, as well as engineer Vladimir Shukhov’s steel lattice structures, were on display at the exhibition.

16th All-Russia Industrial and Art Exhibition in Nizhny Novgorod, 1896

After the 1917 Revolution, the fair continued to function for a time, but it was not as popular as before - and there was no longer any freedom of trade, the latter having been fully placed in the hands of the state. In 1929, the Bolsheviks finally closed down “this capitalist, socially hostile phenomenon”. Many of the fair’s buildings were demolished - or converted into residential housing. 

One of the last Nizhny Novgorod fairs in the Soviet time, 1924

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Districts [ edit ]

The city is divided by the River Oka into two major parts: the Upper city ( Verkhnyaya or Nagornaya chast ) on the hilly right side and the Lower city ( Nizhnyaya or Zarechnaya chast — what literally means "the part over the river") on the left bank of the river. The Upper city is the old historical part of Nizhny Novgorod, whereas the Lower city is larger, newer and consists of more industrial districts.

Understand [ edit ]

History [ edit ]

The city was founded by Grand Duke George II of Russia in 1221 at the confluence of two most important rivers of his principality, the Volga and the Oka. Its name literally means Newtown the Lower , to distinguish it from the older Novgorod . A major stronghold for border protection, Nizhny Novgorod fortress took advantage of a natural moat formed by the two rivers.

Along with Moscow and Tver, Nizhny Novgorod was among several newly founded towns that escaped Mongol devastation on account of its insignificance and grew up into important centers of Russian political life during the period of Tatar yoke. For a short period of time it was the capital of the Suzdal Principality and competed with Moscow for the power in the region. However the competition with Moscow was lost and in 1392 the city was incorporated into Muscovy. Nizhny Novgorod Kremlin was built in 1508-1511 (under supervision of the Italian fortress engineers) and became one of the strongest Russian citadels. There is a legend saying that the project was initially developed with participation of Leonardo da Vinci. However there is no documented proof of Leonardo's work for that project, the only thing the legend is based on is the striking resemblance of Leonardo's sketches and the actual Kremlin schemes. The fortress was strong enough to withstand Tatar sieges in 1520 and 1536.

In 1612, the so-called national militia , gathered by a local merchant Kuzma Minin and commanded by Knyaz Dmitry Pozharsky expelled the Polish troops from Moscow, thus putting an end to the Time of Troubles and establishing the rule of the Romanov dynasty.

In 1817, the Makaryev Monastery Fair, one of the liveliest in the world the 16th-18th centuries, was transferred to Nizhny Novgorod, which thereupon started to attract numerous visitors and by the mid-19th century it turned Nizhny Novgorod into trade capital of the Russian Empire.

Under the Soviet period, the trade connections of the city were abandoned and Nizhny Novgorod became an important industrial centre instead. During the communist time the city was closed to foreigners to safeguard the security of Soviet military research. The physicist and the Nobel laureate Andrei Sakharov was exiled there during 1980-1986 to limit his contacts with foreigners.

Climate [ edit ]

The climate in the region is humid continental and it is similar to the climate in Moscow , although colder in winter, which lasts from late November until late March with a permanent snow cover.

By car [ edit ]

Nizhny Novgorod is situated on the M7/E30 road. The road is in decent condition, although with traffic it can take anywhere from 4 to 8 hours to drive to/from Moscow .

By boat [ edit ]

Turflot [dead link] , Infoflot , and many other companies operate multi-day river cruises down the Volga from early May to the end of September.

Many companies operate passenger boat service between Moscow and Astrakhan , with stops at most cities along the Volga River.

Get around [ edit ]

By foot [ edit ].

The city centre is compact and walkable. However, there are many inclines or steps from the river banks. The bridges are not pedestrian friendly since the sidewalk is very narrow and cars drive extremely fast close to the pedestrians.

By city rail [ edit ]

The City Rail connects areas where there are no metro lines. Connects with the subway at the Moscow railway station. It has 2 lines: Sormovskaya and Priokskaya. The fare by train costs 28 rubles. According to the Citicard Transport Card, the fare is 26 rubles. Also by train you can get to the nearest suburb, or transfer to suburban trains to Dzerzhinsk, Bor, Semenov or Arzamas.

By bus and trolleybus [ edit ]

As of May 2017 in each district of the city there are several city bus routes. The number of trolleybus routes is much less. In one district of the city there are 1-2 trolleybus routes. Trolleybus routes are completely absent in the Leninsky city district. It is worth noting that trolleybuses do not connect the Lower City to the Upper. This is because the trolleybuses do not have enough power to climb the mountain.

The trolleybus network is divided into 3 parts:

• The upper trolleybus network (it unites all three districts - Nizhegorodsky, Sovetsky and Prioksky) with a turning circle on the Minin Square, near the Kremlin.
• The lower trolleybus network (connects Kanavinsky, Moskovsky and Sormovsky districts)
• The Avtozavod trolleybus network (connects all the distant sleeping microdistricts among themselves)

By tram [ edit ]

Throughout the city, land trams run. The longest route of all is 417. It connects the outskirts of Avtozavodsky district with the Moskovsky Rail Terminal. The journey takes about 1 hour and 20 minutes. The route passes through the sleeping areas (approximately 75% of the way). Also in remote neighborhoods there are routes of several more trams, but in most cases, they are in the Upper City. By the way, you can reach there by tram 27 or 10 directly from the Moscow railway station.

By marshrutka [ edit ]

Marshrutkas do not stop at every stop. To indicate your intention to exit a marshrutka, press a button and to indicate your intention to enter a marshrutka en-route, you need to wave your hand.

By bicycle [ edit ]

Nizhny Novgorod has not very developed bicycle infrastructure. Special bike paths exist only on the Upper-Volga and Lower-Volga embankments and on Rozhdestvenskaya Street.

The upper city is very hilly and full of steep inclines and even many locals will get off their bicycles and push their bikes up the hill by foot. Drivers can be reckless and pose a danger to cyclists. The roads can also be icy during the winter. City cyclists solve this problem by replacing summer tires with winter tires.

Also, in 2017 the implementation of a new integrated transport scheme of the city began. It provides for a large number of bicycle paths in the Upper City (including on Bolshaya Pokrovskaya Street) and in the Lower City.

See [ edit ]

Monuments [ edit ]

• Monument to Valery Chkalov, the famous test pilot of the 1930s, known for his ultra long flight from Moscow to Washington State via the North Pole.
• Maxim Gorky, at the square named after him
• Alexander Pushkin (at the entrance to the Theatre of Opera and Ballet)
• 56.327974 44.001982 26 Prince George and Saint Simon of Suzdal , The Kremlin, St. Michael the Archangel Cathedral . Monument to the founders of the city of Prince Yuri II of Vladimir (also George Vsevolodovich) and Simeon of Suzdal ( updated Jun 2017 )

Religious [ edit ]

• Pechersky Ascencion Monastery , near Sennaya Square a couple miles east of downtown, halfway down the slope to Volga. With a cathedral and several churches surrounded by a restored stone wall, the monastery is the seat of the archbishops of Nizhny Novgorod.
• A big variety of other churches and convents.

Buy [ edit ]

Sleep [ edit ]

All hotels and hostels offer free Wi-Fi and many have computer terminals. Almost all accept credit cards. Hotels and hostels will usually provide a visa invitation and registration for an additional fee.

Connect [ edit ]

Phone [ edit ].

For information on purchasing a SIM card in Russia, see Russia#Connect .

Note that Nizhny Novgorod is in the Volga region zone, and SIM cards purchased elsewhere, such as in Moscow or Saint Petersburg , may be subject to roaming charges.

There are payphones in the streets; however, you can only buy phone-cards in the post offices and in a few newspaper kiosks.

Internet [ edit ]

Free WiFi is available in most hotels, shopping malls, university buildings, restaurants and cafes, the airport as well as several metro stations. There is also free public WiFi on B. Pokrovskaya street.

Cope [ edit ]

Navigation menu

Here are the 2024 Elliott Norton Theater Award nominees

The Boston Theater Critics Association has announced its nominees for their 41st Annual Elliot Norton Awards.

More than 140 nominations make up over two dozen categories of actors, directors, designers, musicians and productions.

Janie E. Howland, a scenic designer based in Boston, has been selected as the recipient of this years Elliot Norton Prize for Sustained Excellence. She has previously won four Elliot Norton Awards for Outstanding Design and is making her Trinity Repertory Company debut in May with “La Cage aux Folles.”

An Education Award is also being awarded to Hyde Square Task Force, whose programs focus on the cultural development of Boston’s Latin Quarter and Afro-Latin arts enrichment.

Additionally, four awards have already been announced for visiting productions including “Moby Dick,” for Outstanding Visiting Production, “Girl from the North Country” for Outstanding Visiting Musical, Heidi Blickenstaff in “Jagged Little Pill” for Outstanding Visiting Performance in a Musical and “Alex Edelman: Just For Us,” winning Outstanding Visiting Solo Performance.

Joyce Kulhawik, president of the Boston Theater Critics Association, said the theater community was harshly impacted by COVID-19 — but is proud that many companies are still putting on extraordinary performances.

“There are more than 140 nominations this year on stage,” Kulhawik said. “That's a lot of work in a community that was really decimated by COVID and is still recuperating. But this community is relentless, and we are recuperating, and we're hoping that this event is even bigger and better than last year. It's really been a tough road, but this community is so passionate about what they do.”

Kulhawik encouraged people to turn out to theater productions across the state — from bigger theaters in downtown Boston, to smaller local productions.

“There's just a lot going on that I think people are unaware of,” she said “And partly this is because there aren't enough outlets in which to let people know, because everybody knows arts budgets are being slashed everywhere, because the arts are always considered a frill. And of course, they're not. They're our life's blood. I would say to people, look around, see what's playing, check it out, take a chance and prepare to be thrilled.”

The Elliot Norton Awards will be held on May 20 at the Huntington Theatre in Boston. The full list of nominees can be found here .

Explore Topics:

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One-man show merges mental health, religion and the golden age of hip-hop

John Oakes: The Fast

Oakes examines the complex science behind fasting and the value of consuming less in order to know more..

Whether for philosophical, political, or health reasons, fasting has become increasingly popular, from health advocates who see it as a detox method, to the faithful who fast in prayer, to activists using hunger strikes as an effective means of peaceful protest. With fasting at an all-time high in popularity, John Oakes explores the surprising history and science behind the practice.

Oakes speaks with journalist Anne Nelson about the virtues of holding back, of not consuming all that we can, and reconsidering your place in the world.

To join the event | Please be sure to register for an In-Person Ticket . Doors will open 30 minutes before the program begins. For free events, we generally overbook to ensure a full house. Priority will be given to those who have registered in advance, but registration does not guarantee admission. All registered seats are released shortly before start time, and seats may become available at that time. A standby line will form 30 minutes before the program.

The Vartan Gregorian Center for Research in the Humanities welcomes everyone to join the conversation between curators, librarians, and researchers, as they discuss new scholarship and projects, research methods, and the Library's rich collections and resources.

ABOUT THE SPEAKERS

John Oakes is publisher of The Evergreen Review . He is editor-at-large for OR Books , which he cofounded in 2009. Oakes has written for a variety of publications, among them The Oxford Handbook of Publishing , Publishers Weekly , the Review of Contemporary Fiction , the Associated Press , and The Journal of Electronic Publishing . He is a cum laude graduate of Princeton University, where he earned the English Department undergraduate thesis prize for an essay on Samuel Beckett, and has been recently awarded residencies at Yaddo and Jentel. He was born and raised in New York City, where he lives, and is the father of three adult children. The Fast is his first book.

Anne Nelson is an award-winning author and journalist. Her books include Red Orchestra: The Berlin Underground and the Circle of Friends Who Resisted Hitler (New York Editors Choice); Suzanne's Children: A Daring Rescue In Nazi Paris (finalist, National Jewish Book Award); and Shadow Network: Media, Money, and the Secret Hub of the Radical Right , the basis for Bad Faith , a new documentary streaming next month on Amazon Prime. Nelson received the Livingston Award for journalism and a Guggenheim Fellowship for historical research. She’s a research scholar at Columbia and a member of the New York Council on the Humanities.

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Music Reviews

Beyoncé's 'cowboy carter' is a portrait of the artist getting joyously weird.

Beyoncé's Cowboy Carter has ignited discourse about the place of Black musicians in country music. But it's also evidence of its creator's desire to break genre walls by following her most eccentric impulses. Mason Poole/Courtesy of the artist hide caption

Beyoncé's Cowboy Carter has ignited discourse about the place of Black musicians in country music. But it's also evidence of its creator's desire to break genre walls by following her most eccentric impulses.

This essay first appeared in the NPR Music newsletter. Sign up for early access to articles like this one, Tiny Desk exclusives, listening recommendations and more.

After two months of anticipation, Cowboy Carter has been out in the world for nearly a fortnight, and the discourse is thick as sawdust on a honky-tonk floor. Beyoncé's spangled opus, as lengthy and florid as a Sergio Leone classic — it really could have been called The Good, the Bey and the Ugly -- has generated more think pieces than any pop phenomenon since her friendly rival Taylor's Eras tour.

I've kept track of the coverage of Cowboy Carter and it's, well, something. Actually it's everything, ranging from paeans to (not too many) pans . Not weighing in hasn't been an option for most music writers, who have spilled tons of ink documenting the album's backstory, tracing its references, and examining its work of legacy building. What could I add to the discourse? Well, this: Whether it's considered a champion's walk, an overlong stumble, a powerful political gesture or a highly personal cri de couer — one thing Cowboy Carter is, undeniably even if no one has said it, is weird. And that's a wonderful thing.

Music Features

10 takeaways from beyoncé's new album, 'cowboy carter'.

Album Review

On 'cowboy carter,' beyoncé's country is as broad as the public she serves.

Not that Beyoncé herself would ever admit to her own eccentricity. She's declared herself a diligent student of the genre she sought to revise, and many of the touchstones on this massive grab bag of ballads and bangers check the boxes of cultural intervention. She features Dolly and Willie; shows us her boots, brand-name jeans and whiskey bottle; includes a murder ballad and her perspective on that ultimate country emblem, the American flag. (She sees it as red: blood, Alabama clay, indigenous people.)

Her inclusion of the undersung Black Grand Ole Opry pioneer Linda Martell as a collaborator nods to efforts to rectify historical omissions that have been going on in and around Nashville for years — shoutout to the Black Opry crew, to artist and radio host Rissi Palmer and to Martell's granddaughter, who continues to crowd-fund a documentary that Beyoncé really should just finance.

New roots: Black musicians and advocates are forging coalitions outside the system

Best Music Of 2021

How black women reclaimed country and americana music in 2021.

But the way she assembles these hardly unique elements is startling. Sidestepping either a conventional foray into country's traditional sounds or a risk-averse pop approach that would just use those elements as window-dressing, she and her dozens of collaborators assemble a cosmic omnibus of reference points while drilling down on her long-standing obsessions. While it's correct to call this album an epic and a strong political statement, it's an idiosyncratic one, more akin to Jim Jarmusch's off-kilter visions of American heritage — especially Mystery Train -- than, say, Martin Scorsese's Killers of the Flower Moon .

It may seem off to identify eccentricity in a project that includes radio-ready Miley Cyrus and Post Malone collabs, and which was quickly endorsed by none other than the Vice President. Yet the first thing I thought of when I sat down to listen to Cowboy Carter was an album from 1967 that's beloved by many rock cognoscenti for its very peculiarness. Van Dyke Parks 's Song Cycle was the first solo album by the noted composer, arranger and producer. It is a shambling, sunnily psychedelic portrait of California living from the perspective of a transplanted white East Coaster with Southern roots. (Parks was born in Mississippi but grew up in Princeton singing in a boys' choir.)

Rich with strings and gorgeous melodies and rife with punnily poetical lines like, "Nowadays a Yankee dread not take his time to wend to sea" in a song about Parks's own experience trying to make it within the L.A. music biz hustle, no less, Song Cycle features Parks's birdlike warble, and by birdlike, I don't mean Beyoncé's operatic forays on new songs like "DAUGHTER" or "FLAMENCO," but Tweety Bird or the Peanuts ' Woodstock. Parks made the unfinished psychedelic masterpiece Smile with Brian Wilson of the Beach Boys and later worked with 21st-century visionaries Joanna Newsom and Gaby Moreno, among others. But Song Cycle is his strange baby. Though it's a rich work that offers real insight into the melting late 1960s American West Coast dream, Song Cycle is not for everyone. Parks experimented joyfully with song structure, sound effects and lyricism, painting a floating world that requires time and sympathy to comprehend.

Cowboy Carter sounds absolutely nothing like Song Cycle , yet I thought about the latter as I sunk into the non-linear, fragmentary experience of listening to it. I appreciate how Beyoncé sticks to her guns throughout, just as Parks maintained his whimsicality and dreaminess. Stacked harmonies do here what strings do on Song Cycle , lending grandeur to the opening "American Requiem" and tenderness to the ballads "MY ROSE" and "FLAMENCO" (the latter pairs them artfully with Andalusian hand-claps); yet those vocals also set a kind of Broadway stage for the songs, rendering them winsomely surreal. The album's employment of banjo and pedal steel signify country, sure, but they're used in unusual ways, as Parks uses accordion and balalaika. The distortions are highly individualistic, nothing like what current country sounds like. (Exception: that Post Malone duet, "LEVII'S JEANS.") Same with the roots references. The interlude "OH LOUISIANA" speeds up a Chuck Berry vocal to turn that rock and roll founder into helium. On the tour de force Tina Turner tribute "YA YA," Beyoncé begins with a spoken exchange with her background singers that calls back to her campy turn in Austin Powers in Goldmember as well as to Southern rap's most glorious weirdo breakthrough, Outkast's "Hey Ya!" Sure, this is historical work, but it's hardly textbook.

These tracks stand alongside others in a sprawl of concepts, tempos and tones until Cowboy Carter turns into a full-on megamix, its final four tracks returning to the dance party of Renaissance , abruptly concluded with a literal showstopper, the Broadway-ready "AMEN." The album is immersive, but it's a jerky, bucking rodeo ride, not a narrative that lends itself to easy absorption. And through it all Beyoncé bends country and blues tropes — those two genres are inseparable, something Cowboy Carter acknowledges — to the themes she can never abandon: the perils of attempted monogamy, the joy and terror involved in mothering and her own determination to be great, an ambition that she views as a responsibility more than a privilege.

Concept albums can be relatively straightforward, like Willie Nelson's classic Red Headed Stranger , but often they do come out ornate and leaky as their makers dump all of their ideas within the frame. Beyoncé nods sonically to a few that came after Song Cycle . At certain points, Sly and the Family Stone's murky funk on There's a Riot Goin' On comes to mind. Michael Jackson never made a full-on concept album, but that tarnished legend requires mention because Beyoncé's massive ambition rivals his more than anyone's. (Maybe Madonna's; she did make a concept record, Erotica . Or that soundtrack-maker Prince's.)

More recent touchstones include the high-concept forays of Janelle Monaé, whose " Tightrope " seems as much a touchstone for "YA YA" as does Tina Turner's shimmy, and the efforts of two of her collaborators on Cowboy Carter . Raphael Saadiq, who co-produced several tracks, released a similarly massive and emotionally affecting concept album , Jimmy Lee , in 2019. And the Virginia-born multihyphenate Shaboozie, a visionary character whom Beyoncé has apparently recognized as a kindred soul, paid tribute to the landscapes and culture of his native state on his own 2022 disquisition on the same themes as Cowboy Carter . Its title? Cowboys Live Forever, Outlaws Never Die .

Beyoncé is getting played on country radio. Could her success help other Black women?

When I associate Cowboy Carter with these equally adventurous and strange concept albums and the outsiders who made them, I don't mean to reduce the impact of her work or her centrality as an era-defining artist. Instead, I'm trying to free this fun and unfettered music from the burden of predefined significance. Beyoncé has, by her own will as well as her fans's needs, become what Doreen St. Felix calls an "übermatriarch," not only a biological mother but the nurturing, burdened mother of all of her faithful — and of Black America, a role she inherited and claimed from the equally eccentric and more reluctantly ennobled Aretha Franklin. The seriousness of her responsibilities has earned her a lot: millions nearing billions of dollars, a place among heads of state and a fan base that strikes fear in the hearts of naysayers. But for an artist, such success ultimately confines. Only a few have been able to remain playful and light-footed as their public images have hardened into marble.

Two such artists, as it happens, are ones Beyoncé directly takes on in Cowboy Carter : The Beatles, whose members never stopped releasing humorous and even nonsense songs alongside their wedding-and-funeral ballads and politicized anthems; and Dolly Parton, the most agile pop star of all, who's crossed into nearly every category that's interested her with her own birdlike laugh and dimpled smile. Dolly herself has deep and strange predilections: her many songs about dead children, for example, or her way of turning sexuality cartoonish not only as comic relief, but as a weapon. It's her oddball side as well as her musical genius that's allowed her to slip through so many doors.

Beyoncé did not create Cowboy Carter to honor white artists like Parton, but she made a wise decision by invoking her as a partner and a patron saint. In the spoken interlude that precedes Beyoncé's rewrite of her classic "Jolene," Parton refers to Beyoncé's famous line about a white woman's allure for her Black husband, "Becky with the good hair," as "that hussy with the good hair." She drawls out the insult, though, as if she's in the middle of a Hee Haw skit: huzzzzy . It's a goofy, enjoyably destabilizing moment — an eccentric gesture that reminds us that as serious as music can be, it's most powerful when its subversions are also fun.

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Top 10 Things To Do And See In Nizhny Novgorod, Russia

Located about 400km east of Moscow , Nizhny Novgorod is one of the most important centers of cultural, economic, and political activity in European Russia . Widely considered, after St Petersburg and Moscow, to be Russia’s ‘third city’, Nizhny is fast becoming a hot-spot for Russian and global tourists alike, attracted by the city’s up-and-coming reputation and stunning landscape.

The Kremlin

Jutting out from the cliffs that overlook the meeting point of the great Volga and Oka rivers, Nizhny Novgorod ‘s ancient Kremlin boasts of some of the best views in the city. Designed by an Italian architect, the 13 magnificent towers and the 12 meter high walls of Nizhny’s Kremlin date back to 1500. On this very spot in 1612, heroes of Russian history Kuzma Minin and Count Dmitry Pozharsky defeated the invading Polish army in extraordinary circumstances. This moment has become legend in Russian history and a statue in honor of these two lies at the foot of St Basil’s in Moscow. The Kremlin is the historic center of the city where you will find an art museum and the lovely Cathedral of the Archangel Michael, as well as a striking monument to those that fought in the Second World War and its flame eternally flickering on in their memory.

Completed in 2012, taking a ride on Nizhny Novgorod’s cablecar has fast become a favorite activity of tourists. The trip offers unparalleled opportunities to view the city’s gorgeous natural landscape from this bird’s eye position. The 3660m long gondola lift connects Nizhny to the town of Bor and stretches across the Volga River for 900 panoramic meters. The gondola acts as both a convenient means of transportation and a fantastic sight-seeing expedition – come at sunset for a golden-bathed view of the river and surrounding landscape.

The house-museum of Maxim Gorky

During the Soviet era, Nizhny Novgorod, birthplace of celebrated Russian writer Maxim Gorky , was renamed ‘Gorky’ in honor of this national hero. This home has been preserved in a state as accurate as possible to how it was left by Gorky and is so successful in this that it would seem as though the writer still lived there. The museum ‘s historic interiors and authentic furnishings will transport you back to the 1900s and the creative world of this icon of Russian literature. Come and make the most of this unique experience to delve into the childhood world of this Russian father of social realism. Museum booklets and guided tours are available in English.

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Nizhegorodskaya Yarmarka

A yarmarka is something akin to a fair, and this historic former market place was restored in 1991, the site now playing home to a superb modern exhibition center. The city’s yarmarka plays host to international events, fairs, and conventions. In 2011, for the 20 year anniversary of the fair’s refounding, a vast array of exhibitions were organized, attended by thousands including members of the British royal family, Vladimir Putin, Mikhail Gorbachev , and Margaret Thatcher . The fair is not only a buzzing center of business and culture, it is also one of the city’s most impressive sights.

The Nizhegorodsky State Art Museum

Located inside Nizhny Novgorod’s ancient Kremlin, the building that houses this art gallery was once the home of the governor of the city. The exhibits are wide-ranging and include everything from 14th century religious icons, to work by 20th century contemporary Russian masters. Particularly dazzling is the collection by Russian painter Nicholas Roerich. There is also a large arts and crafts collection which demonstrates the exquisite handiwork of Russian artisans throughout history.

1. Bolshaya Pokrovskaya Street

Bolshaya pokrovskaya street.

An excellent spot to soak up the best of the city’s atmosphere, this pedestrian street lies in the heart of Nizhny Novgorod. The beautiful Bolshaya Pokrovskaya Street is constantly buzzing and provides new and exciting sights at every turn. Gorgeous buildings and fountains tower on all sides – showcasing the best of Nizhny’s architecture. Quirky shop fronts and lovely local souvenirs will have you pausing at every window while the charming cafés will draw you in with their tempting aromas. Bolshaya Pokrovskaya Street transforms by night into a vibrant hub of evening activity and is the place to come for a night-out in the city. The bars of this street are favorites with Nizhny Novgorod’s student population.

The Chkalov Staircase

An idyllic spot from which to watch the sun’s rays set over the city, this monumental creation was constructed by the Soviet government and is unique to the city of Nizhny Novgorod. The staircase derives its name from pilot Valery Chkalov who, in 1937, became the first man to fly from Moscow to Vancouver through the North Pole. A monument to Chkalov stands at the top of the stairs. The construction of the staircase cost almost 8 million rubles – an immense sum at the time. Over 1,500 stairs connect the city center with the river embankment – making Chkalov’s landmark the longest flight of stairs along the Volga. Nowadays the staircase is a favorite meeting place and relaxation spot for locals.

The Rukavishnikov Estate Museum

The Rukavishnikovs were a family of immensely wealthy merchants originating from the region around Nizhny Novgorod. This superbly restored palace , their former home, has been transformed into a museum of Russian history and gives a realistic snap-shot of life for the wealthy under tsarist rule. The ornate 19th century interiors and exquisite facade are sure to dazzle with their beauty while the lush green of the surrounding natural landscape provides a tranquil getaway from the city center. Lavish furnishings, priceless antiques, and glistening gold will transport you back in time to a world of balls, carriages, banquets, and tsars. Join the world of Russian noble ladies and gentlemen for a day in this stunning palace.

The Sakharov Museum

Nizhny Novgorod’s Sakharov Museum is dedicated to dissident Russian scientist Andrei Sakharov . The nuclear physicist and human rights activist was exiled for six years to the very flat in which the museum is now housed. Sakharov’s support for civil reform and improved human rights in the Soviet Union earned him harsh persecution from the Russian government, but also, in 1975, a Nobel Peace Prize . Sakharov was incarcerated here until 1986 when a KGB officer arrived to install a phone in the flat. Just after the phone was installed it began to ring: the caller was Mikhail Gorbachev, ringing Sakharov to inform him of his release. This phone is now one of the museum’s most treasured artifacts.

The National Centre of Contemporary Art

Inside the walls of Nizhny’s Kremlin can also be found one of the best modern art galleries in Russia. Linked to galleries in both St Petersburg and Moscow, this top-ranking exhibition center houses regularly changing displays of both Russian and international art as well as interactive exhibits and a media library. Progress is also on-going of adding a concert hall, extending the exhibition areas, and creating a restaurant. These additions aim to make art contemporary, not simply a detached, unrelatable concept, but bring it closer to the Russian people.

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UH-Hilo Performing Arts Center presents ‘Happily Eva Afta’

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Malie Longakit, Ka'ena Longakit, Cadence McMillan and Otis McMillan, as menehune, laugh at Kimo Apaka, as Narrator #1, while rehearsing a scene in "Happily Eva Afta."

Kelsey Walling/Tribune-Herald Kaylee Wright as Princess Lokelani, left, and Zayne Paresa as Prince Ikaika finish their sibling song and dance during a rehearsal for "Happily Eva Afta."

Fairy tales will take on a local twist during the University of Hawaii at Hilo Performing Arts Center’s annual spring musical, “Happily Eva Afta.”

“Happily Eva Afta” is a musical comedy written by Lisa Matsumoto, with music and lyrics by Roslyn Catracchia, and is the final segment of her “Once Upon One Time” trilogy. The three musicals transform traditional fairytales into comedic, local fantasies full of songs and colorful characters.

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Justina Mattos is directing the show to close out the Performing Arts Center’s season, with music direction by Rachel Edwards and choreography by Kea Kapahua.

According to Mattos, bringing “Happily Eva Afta” to a Hilo stage has been a 16-year work-in-progress.

Volcano Arts Center put on the first musical in the trilogy, “Once Upon One Time,” in 2007, and the Hilo Palace Theater followed with the second part, “Once Upon One Noddah Time,” in 2008.

“Due to (Matsumoto’s) passing and then the COVID-19 pandemic, it took a while to make the final part of the trilogy happen, and we have finally found the right time ” Mattos said. “We have been actively working as a production team for about a year since it takes so much to get a schedule to work and decide on any other resources that may be needed.”

There are 41 cast members, 18 dance ensemble members and dozens of students, faculty, community members and alumni working behind the scenes to put this show together.

“At most, we have about 60 people on stage. It can be a complicated process, but it’s amazing to see the university be this connecting point for so many,” Mattos said. “Community members volunteer to help, students are part of the production for their classes, alumni come back to work on stage again, all for the production.”

UH-Hilo alum Kimo Apaka is playing the lead storyteller and is tasked with taking the audience through the entirety of the musical. He also is the only cast member to have performed in the trilogy prior to “Happily Eva Afta.”

“I was in the second production in 2008, and after so much time, it’s really nice to touch on this again,” Apaka said. “I love how this trilogy celebrates localness, imagination and reading. It is so nice to come back to the stage as an alum and be part of such a talented cast and crew.”

Local casts from across the state have been attracted to Matsumoto’s work due to her use of pidgin. Most of the actors in “Happily Eva Afta” use pidgin through the show, which helps transform the traditional fairy-tale characters into their localized versions.

Instead of a Big, Bad Wolf from “Little Red Riding Hood,” Da Mean Mongoose runs about throughout the show and the three fairies from “Sleeping Beauty” have been transformed into Aunty Dis, Aunty Dat and Aunty Da Kine.

“There are not as many young people speaking pidgin regularly, but they always pick it up quickly. It’s great to see them develop their character while channeling aunties and uncles,” Mattos said. “I think people enjoy playing and seeing characters that are more familiar to them, which is why this fractured fairy tale is so fun to do.”

To make the story come to life, UH-Hilo PAC manager Lee Dombroski began planning the colorful costumes in November. Utilizing her background in costuming and wigs, she has paid homage to fairy tales through the costumes while also giving them a local style that is unique to each character.

“My ultimate goal is to help the actors feel their character the moment they get into costume,” Dombroski said. “Everyone involved in the production has put so much work into their jobs, and everything is working together to create this cohesive visual that supports the story being told.”

Kapahua has choreographed all the dances with the UH-Hilo dance ensemble class and the other dancers performing during the show. Late last month, she was able to see the dancers rehearse all together with the set on stage.

“I love seeing the dances with the set, because it shows that the work we all do brings everything to life,” Kapahua said. “It’s so fun to see the layers of work come together as we get closer to opening.”

After so many years, Mattos is looking forward to seeing “Happily Eva Afta” on the UH-Hilo PAC stage, which allows for an extravagant set, a large cast and exciting lighting and sound effect options that make the outcome even more fun.

The family-friendly show is about 2.5 hours with an intermission. Performances will take place over two weekends: this Friday, Saturday and Sunday, and April 19 to April 21.

Performances begin at 7:30 p.m. Fridays and Saturdays, and 2 p.m. Sundays.

Tickets are available online at hilo.hawaii.edu/depts/theatre/tickets/.

Tickets can also be purchased over the phone at (808) 932-7490 from 9 a.m. to 11 a.m. Tuesday through Thursday, or in-person beginning two hours before show time.

Email Kelsey Walling at [email protected].

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Arts | Gershwin anniversary, Ukraine war, protest and…

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Subscriber only, arts | gershwin anniversary, ukraine war, protest and spirit: so much to ponder, enjoy at ucf celebrates the arts.

We’re halfway through UCF Celebrates the Arts , the annual festival of creativity at the Dr. Phillips Center for the Performing Arts , and I’ve already experienced unforgettable moments. Here’s a look at some highlights.

Sun-A Park and Ammon Perry Bratt gave a spirited salute to George Gershwin in the stylish surroundings of Judson’s Live, the downtown Orlando arts center’s newest venue. It’s the 100th anniversary of Gershwin’s indelible “Rhapsody In Blue,” and Park and Bratt performed a four-handed piano arrangement.

Just the opening notes brought a smile to the soul, and the shifting moods — from the definition of jaunty to downright grandiose — warmed the heart. “Rhapsody” was the finale to a concert that also showcased a bouncy Cuban Overture, with extra percussion, and a medley with a beautifully nostalgic “A Foggy Day (in London Town),” a lush “The Man I Love” and percolating “I Got Rhythm.”

That event followed the Judson’s protocol of a ticket charge plus a mandatory food or drink purchase. But everything else I’ve experienced has been free.

On view throughout the center are multiple art exhibits, which anyone can walk in and view. You can’t miss “The Steampunk Menagerie,” a sculptural installation that has taken over the center’s grand staircase like a city of curious fairy-tale high-rises. The structures, somehow industrial and whimsical at the same time, were created by teams of students from UCF’s 3D-Design Fundamentals classes.

“Art & Autism: Pathways to Expression” is a fascinating look at works by people on the autism spectrum who have unique ways of expressing themselves; often, their creativity fuels their strongest form of communication.

Also fascinating: “#Faces of Russian Resistance,” which tells the story of 16 Russian citizens who have opposed their government’s actions. Their faces — behind jail-like wire — are paired with the details of their circumstances. And it’s especially jarring to consider their plight, and bravery, surrounded by the beauty of the arts center, a place of free expression.

That exhibit is part of the National Endowment for the Arts’ “Big Read,” as was a weekend poetry reading and book signing by “Deaf Republic” author Ilya Kaminsky.

Because Kaminsky, born in Ukraine when it was part of the Soviet Union, lost his hearing at a young age, he described his first language as “the language of imagery.”

“Deaf Republic” tells of a tragedy that befalls a town occupied by soldiers and incorporates themes of protest and change while casting a critical eye on those who remain complacent and comfortable in the face of injustice and suffering.

“It might be Eastern Europe, it might be World War II, it might be now,” Kaminsky said of his story’s setting.

In a separate e-mail conversation with the Orlando Sentinel, Kaminsky touched on a number of topics, including what it was like to grow up deaf — a feeling he illustrated poetically through his writing:

“Walking through the city, I watched the people; their ears were open all the time, they had no lids. I was interested in what sounds might be like. The whooshing. The hissing. The whistle. The sound of keys turning in the lock, or water moving through the pipes two floors above us. I could easily notice how the people around me spoke to one another with their eyes without realizing it.

“But what if the whole country was deaf like me? So that whenever a policeman’s commands were uttered, no one could hear? I liked to imagine that. Silence, that last neighborhood, untouched, as ever, by the wisdom of the government.”

Kaminsky visited that idea in “Deaf Republic,” where the townspeople become deaf to the occupying soldiers as a form of protest.

“So, the idea of Deaf Republic has more than one meaning for me, as you might imagine,” Kaminsky said.

He visits Ukraine every few months to check on relatives and friends who have been affected by the Russian invasion. He describes his hometown of Odessa with affection:

“There was an opera house before there was potable water. Odessa loves art, and it loves to party. In the summer, huge cages of watermelons sit on every corner. You break them on the sidewalk and eat them with friends. The city has an especial affinity for literature. There are more monuments to writers than in any other city I have ever visited. When they ran out of writers, they began putting up monuments for fictional characters.”

New Judson’s Live cranks up the swank on Orlando’s music scene | Review

He also appreciates the spirit of Ukrainians.

“The most important holiday in Odessa isn’t Christmas; it is April 1, April Fool’s Day, which we call Humorina,” Kaminsky said. “Thousands of people come to the street and celebrate what they call ‘the day of kind humor.’ All of Ukraine has a sense of humor — think of the man who offered to tow a Russian tank which had run out of gas back to Russia. Humor is a part of resilience.”

He and others have started a poetry studio to give children something uplifting on which to focus in the hours they spend hiding from bombings. (Find more information and ways to help at vo.od.ua/rubrics/tema-dnya/49409.php .)

“Now they are not quite alone in those bomb shelters,” he said. “They take poems with them.”

He also provides insight into what Ukrainians think of the West and the war.

“The West is watching us,” Kaminsky said, saying that a friend wrote him from Ukraine. “This is their ‘reality TV war,’ they are curious to see whether we will go on living or die.”

Another friend told him: “Putins come and go. If you want to help, send us some poems and essays. We are putting together a literary magazine.”

Kaminsky gets it. He knows the power of the written word — and why his “Deaf Republic” resonates at any time.

“We don’t read the poets to understand the moment. We read poets to understand ourselves,” he said. But he graciously humors a journalist by considering “Deaf Republic” in light of the war:

‘Deaf Republic’ author asks us to ‘consider silence’ at 10th UCF Celebrates the Arts

“If I must put it in terms of this moment, the purpose of the state is to numb the senses. The purpose of a lyric poet is to wake them up,” he said.

As part of the Orlando festival, UCF theater students performed a staged version of “Deaf Republic” to Kaminsky’s approval.

“I feel very lucky, of course, that this is happening, and that it is happening especially in Florida, where there is a censorship of its own taking place right now,” he said. “So it feels interesting to have these texts in that space given a voice on stage.”

He doesn’t feel proprietary about the poems of “Deaf Republic” when they are adapted anew.

“These are not my poems anymore, they belong to those who give them a new life on stage,” he said. “So it has a life of its own, and that’s how it should be with books, I feel.”

So much to think about, and there’s so much more ahead at UCF Celebrates the Arts.

More music? Try the National High School Choral Festival (April 11) or the Hippocrene Saxophone Quartet, which has a history of that instrument’s music (April 12). More theater? A full-scale production of “Sweeney Todd” takes over the center’s Walt Disney Theater (April 11-14). More free stuff? Talks on rebuilding Notre Dame in Paris (April 11) and the impact of artificial intelligence on creativity (April 12), a program of award-winning animated film shorts (April 13) and the National Young Composers Challenge, which is building the future of music (April 14).

Get all the details at arts.ucf.edu/celebrates , and get celebrating.

Follow me at facebook.com/matthew.j.palm or email me at [email protected]. Find more arts news at OrlandoSentinel.com/entertainment .

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Bored? Volunteer for the Des Moines Arts Festival or immerse in an interactive art show.

Cowles Commons has become one of the leading places to find temporary art and events, whether it’s the thrill of Hoops & Hops as NCAA teams battle it our or the fun of “Sway’s Bloom,” an interactive art show with artists on poles swaying like flowers. Now those who love to discover the pianos across the city from City Sounds have a new instrument to play — seesaws.

On April 18, Des Moines Performing Arts and Operation Downtown, in partnership with the Greater Des Moines Partnership , introduce the city to “Impulse,” an interactive seesaw project.

The series of 15 seesaws of different sizes features lights and sounds when people play on them. Grab a friend, take the kids, or try it on your own. The art sticks around until May 19.

Find it: Cowles Commons, 300 Walnut St., Des Moines.

More: How to spend a perfect day in downtown Des Moines with food, drinks and more

See new art from David B. Dahlquist and Wendell Arneson during 'Full Circle II'

These longtime friends showcase their newest works together. David Dahlquist is a sculptor who recently started painting. You might recognize some of his works, such as “From Here to There: The High Trestle Trail Bridge” in collaboration with RDG Dahlquist Art Studio. Wendell Arneson 's newest work focuses on abstract works that distill and expand natural elements. The two will be on hand at Moberg Gallery for an opening reception from 5 to 8 p.m. April 12. Expect music by Rob Lumbard and food provided by chef Lisa LaValle at this free event. Works from both artists will be on display through May 4.

Find it: Moberg Gallery , 2411 Grand Ave., Des Moines.

More: Escape rooms and ax throwing: Des Moines date ideas for couples beyond restaurants or a drink

See ‘Discover Symphonic Dance’

Dance and the Des Moines Symphony come together during "Discover Symphonic Dance" on Saturday at 7:30 p.m. and Sunday at 2:30 p.m. at the Des Moines Civic Center at 221 Walnut St., Des Moines. The orchestra performs Prokofiev’s beloved "Romeo & Juliet," Tchaikovsky’s "Sleeping Beauty" and Ravel’s "Mother Goose." The performance ends with Beethoven’s "Grosse Fuge," complete with original choreography by BRKFST Dance Co. from St. Paul, Minnesota.

Single tickets range from $15 to $70 and are available online through dmsymphony.org up until two hours before performances. Ticket prices increase $5 on the day of the concert.

Find it: Des Moines Symphony at the Des Moines Civic Center at 221 Walnut St., Des Moines.

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Historic Osage-orange trees head to Hoyt Sherman Place

The performance center and museum has been busy celebrating its 150th anniversary last year while renovating its lawn. Now Hoyt Sherman Place is ready to add a piece of history to its lawn.

On April 22, Hoyt Sherman Place Foundation plans to plant two small Osage-orange trees to celebrate Earth Day and remember the center’s namesake. The trees serve as living monuments to Major Hoyt Sherman and his oldest brother, Gen. William Tecumseh Sherman, who both served President Abraham Lincoln during the Civil War.

The ceremony at noon includes a Gen. Ulysses S. Grant reenactor who will share some of his experiences from when he last visited Des Moines and met with Hoyt and William Tecumseh Sherman.

These Osage-orange trees have another bit of history to them. Both were grown from cuttings collected from a hedge row of Osage-orange trees planted in 1865 at Oak Ridge Cemetery in Springfield, Illinois. These trees witnessed the funeral procession of President Abraham Lincoln and are still growing at his gravesite.

The Brenton Arboretum in Dallas Center, Iowa, donated the trees.

As a little catchup, the plaza got a redesign last year using elements found in the original 1910 plan for lawn enhancement created by Charles Mulford Robinson. The Des Moines Women’s Club hired Robinson soon after they leased the property from the City of Des Moines as their clubhouse. Another plan created by Etta Bardwell, University of Iowa’s first female landscape architect, in 1926 added additional landscaping and was also commissioned by Des Moines Women’s Club when the theater addition was completed. Nearly 113 years later, those plans have been brought to life.

Find it: Hoyt Sherman Place , 1501 Woodland Ave., Des Moines.

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Volunteer for the Des Moines Arts Festival

Looking for a way to participate in the Des Moines Arts Festival? The event June 28-30 at the Pappajohn Sculpture Park needs more than 800 volunteers to do everything from greeting attendees and helping out artists, to selling merchandise and more. The festival needs volunteers June 24-30. The payment? A free T-shirt along with snacks, beverages, and a free drink coupon from Exile Brewing Co. to use after the festival.

Interested? Head to desmoinesartsfestival.org/volunteer to sign up.

Find it: Des Moines Arts Festival takes place June 28-30 at Western Gateway Park, 1205 Locust St., Des Moines.

Meet author and NPR Political Correspondent Sarah McCammon

Journalist Sarah McCammon grew up as an evangelical. Her new book, “The EXvangelicals: Loving, Living, and Leaving the White Evangelical Church,” combines her personal stories about leaving the church with a look at the power of the Christian right in America. The NPR political correspondent previously worked in Des Moines at Iowa Public Radio as the host of "Morning Edition."

She speaks at Beaverdale Books on Friday at 6:30 p.m., with state Sen. Sarah Trone Garriott moderating the talk.

Find it: Beaverdale Books , 2629 Beaver Ave., Des Moines.

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Poetry Palooza! takes over Des Moines

Grand View University hosts Poetry Palooza! April 19-20 with six renowned published poets from Iowa, Colorado and Kansas reading from their works that celebrate Poetry of Place (regional-topics) and Echoes of Earth (ecology-focused) themes.

The lineup includes:

• Traci Brimhall, Kansas poet laureate and creative writing professor at Kansas State University;
• Paul Brooke, Grand View University endowed chair of creative writing who teaches environmental literature, poetry and diverse voices;
• Camille Dungy, African-American ecology poet and professor at Colorado State University;
• Jennifer Knox, Iowa State University teacher whose works are featured in “Best American Poetry” and The New York Times and American Poetry Review;
• Deb Marquart, Iowa poet laureate, Iowa State University professor, and author of seven books; and
• Caleb “The Negro Artist” Rainey, nationally acclaimed, award-winning Iowa poet who has two books of his works published.

For a full schedule of events, visit here: poetryamp.org/poetry-palooza .

Find it: Grand View University, 1200 Grandview Ave., Des Moines.

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Susan Stapleton is the entertainment editor and dining reporter at The Des Moines Register. Follow her on  Facebook ,  Twitter , or  Instagram , or drop her a line at  [email protected] .

The Top 12 Things to Do in Nizhny Novgorod, Russia

Take a first-rate trip to Russia's fifth city

Ershov_Maks/Getty Images

Although it's Russia's fifth-largest city, you could be forgiven for never having heard of Nizhny Novgorod. Notwithstanding that another Russian city is simply called " Novgorod ," the current name of the city just doesn't have a memorable ring to it. (By contrast, its name during the Soviet years — Gorky, like the famous author — was much more iconic.) At any rate, this city of just over a million around six hours east of Moscow is more than worth a visit. These are just 12 reasons why!

Tour the Kremlin's 13 Towers

Like most every other city in Russia, Nizhny Novgorod is home to a Kremlin. (The word "kremlin" means "citadel" in Russian, and has nothing to do with the modern Russian government) One thing that elevated the Kremlin of Nizhny Novgorod above others in Russia (with the possible exception of the Moscow Kremlin and one or two others), however, is the fact that its wall has 13 towers. During the summer months, at least one free walking tour per day operates from the main entrance of Nizhny Novgorod's Kremlin.

Climb Russia's Longest Staircase

Named for one of the most famous Russian pilots of the early aviation age (Valery Chkalov), the Chkalov Stairs connect two of Nizhny Novgorod's public squares, which sit on the upper and lower embankments of the Volga River, respectively. Built in 1943 (during the period when Nizhny Novgorod was known as Gorky), the Chkalov Stairs currently have the distinction of being the longest staircase in Russia.

Go Wild at Limpopo Zoo

One thing that surprises many travelers to Nizhny Novgorod is how amazing its zoo, colloquially known as Limpopo is. In addition to being home to a tropical botanical garden (which, not surprisingly, is indoors), the zoo hosts a variety of reptiles, mammals and birds. There's also a small sculpture park on the grounds of Nizhny Novgorod's zoo, including both original and replica pieces.

Shop (or Just Stroll) Along a Storied High Street

Bolshaya Pokrovskaya Street has been the de-facto "Main Street" of Nizhny Novgorod for more than 200 years. Well, minus the Soviet Union period, during which the cafes that once (and now) lined it became somewhat worthless, since intellectual conversations were basically forbidden. These days, you can come here for a cup of Russian tea then shop at the dozens of boutiques you'll find on either side of the street.

Sun Yourself at the Spit

Nizhny Novgorod sits at the confluence of the Oka and Volga Rivers, with the triangle of land at the point they meet being known as the Nizhny Novgorod Spit. Ignoring the unfortunate double-meaning of its name for a moment, this is actually a wonderful place to get a tan, if it's summer in the city and the sun happens to be shining. Even if not, photographers will enjoy a trip here for a view of the Kremlin and city center across the Volga.

Marvel at the Open-Air Museum of Rozhdestvenskaya Street

Like Bolshaya Pokrovskaya Street, Rozhdestvenskaya Street has long been one of the most important streets in Nizhny Novgorod. However, while the former has become a primarily commercial artery in recent decades, the charm of the latter is in its well-maintained buildings, which hearken back to the mid-18th century. In fact, some locals go so far as to consider Rozhdestvenskaya Street an "open-air museum."

Ride Russia's Newest Cable Car

Russian investment in infrastructure isn't quite as dramatic as that of, say, China, but the Federation has nonetheless built a selection of interesting and modern transportation systems since the fall of the USSR. Among them is the just-opened cable car, which travels from the center of Nizhny Novgorod over the Volga River to suburban Bor. At any rate, a ride over the river and back is definitely worth inclusion on your list of things to do in Nizhny Novgorod.

Taste Traditional Shchi Soup

Shchi is one of Nizhy Novgorod's most delicious local specialties, available in most every local restaurant that serves Russian food. From above, a bowl of shchi seems incredibly complicated, with a colorful palette that suggests the inclusion of dozens of diverse ingredients. In fact, the magic of shchi is in its simplicity. Building on the traditional pan-Russian recipe of cabbage, pork fat and salt (yes, just three ingredients), locals in Nizhny Novgorod sometimes add minced meat or egg whites as bonus items, then top the tangy soup with a dollop of sour cream.

Survey Amazing Russian Orthodox Architecture

Think the only amazing Russian Orthodox churches are in Moscow and St. Petersburg? Think again. Nizhny Novgorod boasts several amazing examples of Russian Orthodox architecture. From the brilliant golde domes John the Baptist Cathedral near the Volga River, to the expansive grounds of 14th-century Pechersky Ascension Monastery, Nizhny Novgorod is an architecture buff's dream!

Take a Look Back in Time

Nizhny Novgorod's historical center is relatively large and well-preserved, but a stroll (or 10) through it isn't the only way to get a feel for the city's centuries-long past. Head to the Russian Museum of Photography, which not only showcases a variety of images of Nizhny Novgorod that date back a century or even longer, but also spotlights the equipment Russian photographers have used throughout the years, and notable figures in Russia's photography history as well.

Visit the Convent from the Movie "Salt"

You'd be forgiven if you've entirely forgotten the 2010 film "Salt." However, if you remember any destination from this spy thriller, it's likely the facade of Makaryev Convent, which is located within day-trip distance of Nizhny Novgorod. Having served as a monastery from its consecration in the early 15th century up until the beginning of the Russian Revolution, Makaryev became a convent after the fall of the Soviet Union , and is now home to 22 nuns.

Take an Excursion to a 12th-Century Tea Town

Another worthwhile day trip from Nizhny Novgorod is to the town of Gorodets, which sits about an hour to its northwest. With a history dating back to the 12th century, Gorodets boasts an interesting array of architecture and museums, including one dedicated to samovars. 

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